Hiroshi Inagaki's 1954 film Samurai 1: Musashi Miyamoto and Kenji Misumi's 1972 film Lone Wolf and Cub: Sword of Vengeance both feature fluid panning shots that show men who are simultaneously dwarfed by their surroundings yet under control, shown in breathtaking sword fighting scenes where they appear to defy the laws of gravity. Samurai films, "much like American Westerns," feature "tales of loyalty, revenge, romance, fighting prowess, and the decline of a traditional way of life" ("Samurai Cinema"). Both of these films show all of these themes, but where they diverge is that the protagonist of Samurai 1: Musashi Miyamoto starts out as a rebellious member of society and eventually earns honor and respect, while the protagonist of Lone Wolf and Cub exits completely out of context. limits of social acceptability. Samurai 1: Musashi Miyamoto continually subverts the viewer's expectations. At the beginning the film seems to be about heroism, as the two protagonists, Takezo and Matahachi, make the decision to enter battle. However, the battle scenes are confusing and chaotic, and the two men find themselves facing one disastrous situation after another. Eventually it becomes apparent that this will not be a thrilling film about heroism, but rather about the struggle between chaos and order, control and submission. Takezo is wild and reckless, as evidenced by his fighting style, the way he rides his horse, and the callous way he treats others. Throughout the story, he insists that he doesn't need anyone in the world, indifferent to both love and sex. However, the film's long shots where he is a tiny dot against a vast outdoor backdrop reveal him to be powerless against nature, and a scene where he squirms...... middle of paper... ...nder, Ogami clearly distances himself not only from the law, but also from the very rules that govern existence. Both Ogami and Takezo are played by seasoned actors (Tomisaburô Wakayama and Toshiro Mifune respectably) whose every facial movement draws you deeper into the character. . Takezo is a set of competing impulses; abrupt, brutal and aggressive, but also a tender soul thirsty for affection. Ogami's face is one of absolute stoicism; yet in key moments it reveals unexpected registers of fear and surprise. This is demonstrated, for example, by the expression on his face at the beginning of the film when he realizes that he has been framed. Both of these films have a richness and authenticity, led by impeccably choreographed fight scenes and imbued with the directors' love of character, that you would be hard-pressed to find in most contemporary action films..